‘It was the stressing of the ineluctable flatness of the surface that remained, however, more fundamental than anything else to the process by which pictorial art criticised and defined itself under Modernism.’ (‘Modernist Painting’ 1960 by C. Greenberg, from『Clement Greenberg : Selected Writings』Teruo Fujieda and Tokiko Kawada, Keisou Shobo, 2005) This is what Greenberg stated more than half a century before. And he also had a view that everything would disappear at all once as non-comical ending when pictorial art is reached to the limit of the surface by its own criticism.

Regarding the fundamental self-splitting through the looking glass where flatness and depth are drawing a serious battle, pictorial art is the fatal ‘evil’ that betrays and tears apart the world of soon-to-be-completed.

So she lives the parallel world. She jumps off from the bent, mixed and split corner over the rules of flatness. Old territory is now waived on the other side of the looking glass, and she starts to explore the new expanding space as she gives up herself in the sideslip of the meanings. The descendant of the pictorial art that failed to criticise or that was retaliated by the primary self-inconsistency, did catch afterimages of architecture in the memory of one’s own origin. And now one should conspire with this very retaliation from such ‘evil’.